Posted in Whathaveyou on June 27th, 2023 by JJ Koczan
Comprised of Yawning Man‘s Gary Arce (also Ten East, Zun, Yawning Sons, etc.) and Bill Stinson (also Zun, Dark Tooth Encounter, Ten East, etc.), Fu Manchu‘s Bob Balch (also Sun and Sail Club, ex-Minotaur, etc.), and Mos Generator‘s Tony Reed (also Hot Spring Water, Constance Tomb, solo work, etc.), the real miracle here is that Big Scenic Nowhere manages to exist on its members’ respective calendars at all. I seem to recall when I interviewed Balch for their last record, earliest-2022’s The Long Morrow (review here), he said that all the recording they’d done to-date was pulled and edited from a single session — Fall 2018, maybe? — and that there was still more, so it may be that the forthcoming The WayDown will be pulled and constructed from those same jams, but I’ve got zero to go on for that beyond my own half-remembered suppositions. If only there was some place where all that kind of stuff was written down. A blog, maybe. Alas.
In any case, word of the next Big Scenic Nowhere was dropped, along with a clip of a yet-unheard song, so that’s a bonus. I’d have to imagine work on editing down and adding structured verses and choruses, which Balch was doing in his own studio, was somewhat stifled by the significant amount of touring Fu Manchu have done in the last year-plus, but at the same time, it’s worth noting that Arce, Balch and Stinson — along with Yawning Man bassist Billy Cordell — also have the collaboration Yawning Balch releasing its first album, Volume One, on July 7 through Heavy Psych Sounds, so there’s now a whole other, markedly jammier, manifestation of the pairing of the two guitarists, who complement each other in style as well as tone.
The post was quick and if you’re curious, yes it’s The WayDown instead of The Way Down. I asked because, hey, typos happen. In any case, here’s what went out:
The new BIG SCENIC NOWHERE record is finished! It’s named “The WayDown.” More details soon. Here is a small clip. @bigscenicnowhere @yawningmanofficial @mos_generator @fumanchuband
Any addition to the catalog of Santa Cruz, California, merchants Mammatus is noteworthy. Expanding Majesty is all the more so, in being the trio’s fifth album, first for Silver Current Records, and in arriving some eight years after their fourth, 2015’s sharp-visioned Sparkling Waters (review here); they also had their The Ear Food compilation of off-album tracks in 2020. One way or the other, it’s been a while, and the trio who began their run in 2005, released their self-titled debut (discussed here) in 2006, and quickly reaffirmed their penchant for epic and longform heavy psychedelia in 2007’s The Coast Explodes, continue to grow in new directions.
True, Expanding Majesty shares much of its makeup in common with Sparkling Waters; at nearly 70 minutes long, it is presented across the each-to-their-own-vinyl-side “Expanding Majesty” (15:18), “By the Sky” (15:17), “Foreveriff” (22:38) and “Beams of Light” (16:19), and like its predecessor, the latest offering was recorded with Phil Manley (Trans Am/The Fucking Champs) at El Studio in San Francisco (Tim Green mastered at Louder Studios in Grass Valley), and the result is a rich tapestry of prog-informed heavy psych rock, as classic in its exploration as it is evocative in the hearing. Pretty much what Mammatus do, right?
Honestly, that’d probably be enough on its own for Expanding Majesty to accomplish — a new Mammatus record, existing! — but guitarist/vocalist Nicky Emmert, bassist Chris Freels and drummer Aaron Emmert push forward along their individual path, each contributing to the overarching washes of synthesizer/keyboard that become so much a part of the album’s personality. Whether it’s the serene pastoralism in the opening moments of “By the Sky” or the science-fact swirls that fill out along the extended intro to “Expanding Majesty” itself, they play a central role.
That early going of the title-track finds them contrasting but following the rhythm of the purposefully tense guitar circular runs of guitar, gradually becoming more prominent until they’re at the forefront of the mix, not so much competing with the pickslide sweep of distortion that comes in at 7:05 as a setup for the first (yes, first) entry of the vocals half a minute later, but definitely the sky to that grounding rumble. That makes the keys/synth a fit as well alongside Nicky‘s effects-laced-but-gentle vocal delivery, which becomes a part of the atmosphere of the record as a whole and is a uniting factor in the material.
“Expanding Majesty” further establishes the self-awareness that underlies so much of the album that shares its name. The song? Well, it’s majestic and it expands and grows broader throughout its 15-plus minutes. “By the Sky?” Perhaps best summarized by the gorgeous Cristian Eres hinting-at-classic-metal cover art, a dragon flying to a guitar castle above clouds on what may or may not be another planet; it starts with just under three minutes of wakeup before slow-crashing in and taking off into the verse, which does nothing if not look down from above. “Foreveriff?” Yeah, it’s 22 minutes long, but more than that, it’s the way the rolling heavy post-rocker seems to meander even as it weaves into and out of leads, verses, float and crush; the surrounding rhythm is so linear that it’s easy to get lost and not know where it begins or ends. Imagine marching on air, finding clarity in the last nod that starts at about 19 minutes in, growing more fluid en route to the comedown.
And do I even have to say it for “Beams of Light?” The dreamy, melody-focused opening section building gracefully to a heavy psych crescendo about five minutes in that puts twists on a riff that would otherwise be signature Colour Haze before going full-cosmic ethereal around the midpoint, soon to pick up the tempo with an earlier Devin Townsend-style chug (note these are my comparisons; I’d be surprised if the band listened to either of the groups mentioned in this sentence) that serves as a bed for the at-least-two layers of guitar soloing that transport Mammatus and their audience alike to the record’s finish, highlighting the shimmer that’s been there all the while in all the songs, each presenting it in its own sculpted form, sometimes vast, sometimes compact, tense like the hi-hat and speedy noodling of “Expanding Majesty” or an exercise in worldbuilding like the closer.
Through it all, Mammatus retain their sense of purpose, and while there’s little doubt these four pieces were born out of jamming and perhaps built around them, they are not jams. They are songs, with structures and plotted directions, considered dynamics and places to go. That difference is crucial to understanding Expanding Majesty as a forward step in Mammatus‘ ongoing progression. Even the logo the band uses on the front cover tells you something about the heavy metal precision that sneaks into some of the lead guitar parts — “Beams of Light” circa 12 minutes in, for example — but from inside out, Expanding Majesty is conscious of what it’s doing and why, and the focusing of that intention around progressive elements, the slowdown in “By the Sky” and “Foreveriff” after “Expanding Majesty” and the way “Beams of Light” seems to draw the different sides together while also finding new ground, makes it even more resonant as arguably the most vocal-minded and definitely the most synth-minded release in Mammatus‘ catalog.
They remain themselves, which is something for which anyone still reading this is likely to be thankful, but as they did following the six years between The Coast Explodes and 2013’s Heady Mental (review here), Mammatus would seem to have used at least part of the longer break between outings to present and develop fresh ideas. The immersion factor in Expanding Majesty is not to be understated. The Emmerts and Freels carefully and lightly guide the listener through the sometimes-sparse, sometimes frenetic course the record takes, having long since earned the trust of their audience. That intro to “By the Sky.” That last push over the top the vocals bring in “Foreveriff” at about 18 minutes in. These are emblematic of the fullness of Expanding Majesty and the band’s ability to steer their particular dragon wherever they want it to fly. Here, they encompass multitudes.
Posted in Questionnaire on June 27th, 2023 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Kapnathios from Kapnas
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How do you define what you do and how did you come to do it?
I play the guitar and sing and write for kapnas. I came to this point by way of my past experiences in music and it has led me here to this project.
Describe your first musical memory.
I must have been 5 or 6 years old with a toy drum set, and was just jamming (badly) to The Beatles hard days night. Good times
Describe your best musical memory to date.
Going on tour and seeing and experiencing the crowds in different cities and meeting a lot of cool people. It felt validating to be able to share our music like that.
When was a time when a firmly held belief was tested?
Realizing that music has no rules or boundaries so just make what you like and don’t take it too seriously.
Where do you feel artistic progression leads?
I think it leads to a place where the artist comes to a place in their own mind that is like a fork in the road. The decisions we make in the creation process can reveal a lot about our own character, whether we play it safe or are being complacent, or dare to try different things.
How do you define success?
This is a very abstract concept, I think. I think if you’re happy, you’re successful. Tough to think of success and not think of money in this world, but that can be all relative to the individual. For me, if I have enough to support myself and my family, and I have the ability and time to create music I enjoy and want to share with the world, that’s success for me
What is something you have seen that you wish you hadn’t?
2 girls, 1 cup.
Describe something you haven’t created yet that you’d like to create.
I would like to create a 30 to 60 min track that builds on itself throughout. I don’t know why I haven’t done that yet to be honest.
What do you believe is the most essential function of art?
To challenge the artist as their making it and the person consuming it. Not every piece of art needs to be monumental or life changing, but I find it a little hollow to just be super easy to digest
Something non-musical that you’re looking forward to?
Going on a family vacation in August, it’s the first one with my son. Can’t wait!
Posted in Whathaveyou on June 27th, 2023 by JJ Koczan
Netherlands-based dark-prog rockers Iron Jinn announced a while back that they’d be supporting and collaborating on stage with Alain Johannes in September, opening a trio of Dutch shows for the singer-songwriter and multi-instrumentalist (also producer!) known for his work in Eleven, Queens of the Stone Age, Them Crooked Vultures, and so on as part of the latter’s broader European tour. Not a minor gig for Iron Jinn, whose self-titled debut (review here) came out this past Spring through Stickman Records and who played the release show for it at this year’s Roadburn Festival in Tilburg, and my only real complaint with any part of their working with Johannes was I wasn’t going to be able to see it.
Well, in addition to posting the ticket links and the handy reminder below along with the update that they got together presumably to do a bit of prep and see whether the entire idea was going to work at all, Iron Jinn have announced that they and Johannes have together filmed a ‘2 Meter Sessions’ that will be unveiled sometime I guess in the coming months, so that those unable to actually catch them live can have a bit of the experience. If you’re not familiar — and it’s okay, I wasn’t either — the ‘2 Meter Sessions’ is a series that’s been going on for at least 30 years and their YouTube channel has an archive of 150-plus clips to lose your afternoon perusing. Hopefully this one streams as well.
Words from Iron Jinn follow, as per social media:
Stoked to have had Alain Johannes as a guest at the Iron Jinn HQ, a sweet week of jamming on his music, hanging out and playing the legendary 2 Meter Sessies together. Waiting for his return in September to play some exciting evenings at the clubs. Iron Jinn kicks off every night with a full set and this melts into Alain Johannes’ iconic musical legacy (solo/QOTSA/Eleven). Interchanging musicians, instruments and building on each others energy is gonna be the adage and living in the moment will be a necessity. Tickets on sale now at the venues!
Posted in Whathaveyou on June 26th, 2023 by JJ Koczan
While also making a mid-tour stop through Ripplefest Texas in Austin, Hippie Death Cult and Spirit Mother will head out on a West Coast tour together starting Sept. 8 in the former’s native Portland, Oregon, playing alongside the likes of Blackwater Holylight, Weeed, Robots of the Ancient World and R.I.P., among others in a variety of styles. They’ll hit Canada for three dates, and roll through known spots on the circuit like El Corazón in Seattle, Reggies in Chicago, Permanent Records in L.A. and Freetown Boom Boom Room in Louisiana. A couple shows with Brant Bjork. It’s a tour, in other words.
One anxiously awaits word of new material from both outfits, but I guess one (me, in this case) will keep waiting. This tour will be after Spirit Mother return from Europe after appearing at SonicBlast Fest in Portugal and Supersonic in France. Their debut full-length, Cadets (review here), came out in 2020 and was followed by the live album, Live in the Mojave Desert Vol. 3 (review here). For Hippie Death Cult, their next LP will be their first since paring down to a trio, putting Laura Phillips on lead vocals in addition to bass, and bringing in Harry Silvers on drums, basically restructuring the band. If you didn’t see their live clip covering Black Sabbath‘s “Rat Salad” (posted here), consider it recommended viewing.
Hippie Death Cult posted the following on socials. I added lineups and links, as I will:
Hey y’all ✌(#127996#) We are VERY excited to announce that we will be rolling through some select cities across America and Canada this September with our good buddies in @spiritmotherband !! Come join us for a one of a kind psychedelic soul heavy Rock N’ Roll experience !! This is not to be missed !! Tickets go live TODAY at 10am PST. Get ‘em NOW !!! Link in our bio (#127915#)
Leave us a comment if we’re gonna see YOU this fall.
9/8 Portland, OR- Lose Yr Mind Fest 9/9 Seattle, WA – El Corazón 9/10 Vancouver, BC – The Wise 9/12 Calgary, AB – Palomino Smokehouse 9/15 Winnipeg, MB – Pyramid Cabaret 9/16 St Paul, MN – Turf Club 9/17 Madison, WI – High Noon Saloon Madison 9/18 Chicago, IL – Reggies 9/19 Memphis, TN – Growlers 9/20 Lafayette, LA – Freetown Boom Boom Room 9/21 Arlington, TX – Division Brewing 9/22 Austin, TX – Ripplefest 9/23 Houston, TX – Black Magic Social Club 9/24 El Paso, TX – TBA 9/26 Albuquerque, NM – Sister * 9/97 Tempe, AZ – Yucca Taproom * 9/28 Las Vegas, NV – The Usual Place * 9/29 Los Angeles, CA – Permanent Records 9/30 Albany, CA – Ivy Room 10/01 San Francisco, CA – Kilowatt Bar *w/ @brant_bjork
HIPPIE DEATH CULT is: Harry Silvers – Drums Eddie Brnabic – Guitar Laura Phillips – Vocals/Bass
Posted in Whathaveyou on June 26th, 2023 by JJ Koczan
You can hear and see here that Philadelphia-based five-piece Quiet Man — who used to be called God Root — are working to distinguish themselves from the genre pack with their debut album. The way their style is discussed below — the references to dark psychedelia, and so on — I take as a signifier that their aural individuality is a goal in both the now and longer-term. And while that might be true for most bands at least in terms of what they say in press releases, the crusher single “Set to Boil is the New Standard” and their brazenly political stance-taking back up that intention as well.
“Set to Boil is the New Standard” is nine minutes long and one of seven tracks on the record, so either the runtime borders on an hour or they change up their methods significantly throughout. Either way, really. As a first impression from a first record as Quiet Man, the song’s weight is carried through the guitar and bass tones and the overarching atmosphere, a mood of actual-doom (as opposed to doom metal; I’m talking about the end of the world) and the resultant existential angst pervading all the more after reading the descriptions below. I guess they wind up in the post-metal or post-sludge vein, but at least with the single it’s more about the route that gets them there, which is engaging, brutally churning and spacious in kind.
The Starving Lesson is out July 14 through Riff Merchant Records and Astralands. The following came down the PR wire:
QUIET MAN Announces New Album The Starving Lesson
Bringing the darkness back to psychedelia, QUIET MAN (formerly God Root) is anything but quiet. The sludge-infused kaleidoscopic debut album, The Starving Lesson is as political and ecologically bent as it is emotionally and spiritually compelling. “It’s hard to write about anything else when you see what is happening to the planet and to our community,” the band states. The Starving Lesson is due out via Riff Merchant Records and Astralands 7/14.
Today the band has revealed the first single off of the new album. “Set to Boil Is The New Standard”.
Of the track, the band shares: “The military industrial machine is a Frankenstein monster long unchained from any master but total domination and anti-life. It is programmed to feed on the blood of the exploited for meaningless capital to the end-state of annihilation.”
“This isn’t rainbows and sunshine psych, this is peaking on acid in a car accident shit,” the band continues of the album. “We want the music, especially live, to be a more physical sensory experience. I think music has the power to change the physiology of a person and we really strive to give people a psychedelic experience and sense of catharsis through the performance.”
The soundtrack to the self-extinction of man, The Starving Lesson is a stark proclamation of the inevitable end.
The record kicks off with “Pressure to Burrow” The destruction of the self on both the micro and macro levels, the track about watching the people you love falling prey to chaotic drug use, drawing a thematic parallel to the self-destructive ecocide we perpetrate as a species.
“At Operating Temp” is a noise interlude that introduces sounds from numbers stations, encoded and usually automated messages sent to espionage agents over shortwave radio frequencies. These transmissions will outlast all life on Earth.
“From Tomorrow’s Dead Hiss” raises the stakes from simple self-destruction to ecological genocide. “It parallels the dulling and cheapening of human life through the machinations of capitalism to the dulling and cheapening of the Earth and her resources,” the band elaborates.
“The Post Abandoned” uses sounds from shortwave stations including the “dead hand system” meant to trigger nuclear retaliation in the case that there is nobody left alive to “push the button”.
While “The Starving Lesson” is a plea to leave the machine to not participate in its violence.
“All Along We Were Beautiful Radiant Things” is a recontextualization of a very hopeful and inspiring quote from Emma Goldman’s Living My Life: “I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things.’ Anarchism meant that to me, and I would live it in spite of the whole world — prisons, persecution, everything. Yes, even in spite of the condemnation of my own closest comrades I would live my beautiful ideal.”
The Starving Lesson was recorded by Scot Moriarty at Backroom Studios in Rockaway, NJ and mastered by Magnus Lindberg (CULT OF LUNA).
The beginning of the end, what will take root once we are gone?
QUIET MAN is:
Joe Hughes – Guitar/Vocals Keith Riecke – Guitar Jack Sterling – Guitar/Samples Ross Bradley – Bass/Vocals Jason Jenigen – Drums
Recorded in 2020, Anthems and Phantoms is the ninth full-length from Philadelphia committed instrumentalists and doomjazz innovators Stinking Lizaveta. The three-piece of guitarist Yanni Papadopoulos, upright electric bassist Alexi Papadopoulos and drummer Cheshire Agusta were last heard from with 2017’s Journey to the Underworld (review here), and the new album — produced at Permanent Hearing Damage in South Philly by Steve Roche and issued via SRA Records — will carry them past the 30th anniversary of their inception in 2024. If you’ve been fortunate enough to see them in the post-pandemic era — they’ve been at Desertfest NYC (review here), Psycho Las Vegas (review here), and are about to support Telekinetic Yeti on a summer tour of the Western portion of the country — then you’ve already basked in the joy and passion that radiates from Stinking Lizaveta onstage. They shred, they dizzy, they head-down-speed-riff-into-open-groove, all hairpin turns and the underlying technical prowess to pull it off, but they’re not a ‘tech’ band at all.
In tone, the nine songs and 34 minutes of Anthems and Phantoms are organic and warm and fluid enough to make even side B opener “Serpent Underfoot” feel inviting with its initial bursts of crash and howling guitar. Alexi‘s bass work, as ever, is a not-hidden treasure of the low end, even as “Serpent Underfoot” layers a guitar solo over the post-midpoint of the track, which by the way is under three minutes long; the shortest on the record by three seconds at 2:45, as opposed to the earlier “Let Live” at 2:48. But there and in the succession of three four-plus-minute cuts that follow — the sneaker-riff “Blue Skunk” (4:40), the mellow-psych bass-highlight exploration screaming into its payoff “The Heart” (4:56) and closer “Light of Love, Darkness of Doubt” (4:37), which follows suit on the quiet start but makes its ending more wistful with a slower (but for the shred), bluesy spirit — Stinking Lizaveta underscore the love-yes-love in what they do live across these studio pieces. I don’t know and won’t speculate on the recording process, though if you told me basic tracks were live, I’d believe it. But there’s layering as well, so at least some manner of overdubbing happened, and not at all to the detriment either of the material generally or the energy with which it hits the listener. It is a complement to the live experience rather than a recreation, and as a studio outing it works toward its own ends, whether that’s the relative stretchout in the album’s back half after the crunchfest of side A or the beyond-dug-in nature of the songs across the whole.
I’m a fan of this band and I won’t pretend otherwise, but while metal and prog have entire leagues of bands whose focus is solely on look-what-we-can-do-style fret runs and odd time-signatures, etc., heavy rock and roll has Stinking Lizaveta. In the fading-in feedback and subsequent siren-call lead twists of opener “Electric Future,” the constant smoothing-out and brash throwing of sonic elbows — and a bit of Iron Maiden in the ‘verse’ — of “Shock,” and the way “Let Live” seems to roll into its stops as a preface to the midtempo fluidity of “Nomen est Omen” with its nod and ascending movement through the finish, Anthems and Phantoms may be anthems up front, phantoms in the back in terms of the A/B LP divide, or it may just be what came out of the studio that particular day three years ago, but no matter where they go, it is unquestionably Stinking Lizaveta‘s own.
They are singular, and unique, which is not a word I often use. With the careening guitar, snare-shred and the depth, bounce and heft provided by the bass, “Daily Madness” is only a fitting centerpiece, drawing a line under the fact that Stinking Lizaveta don’t need anything other than themselves. Yeah, there’s another layer of lead guitar (probably not keyboard) tucked into the ending of the song, a little extra twist thrown in for good measure, but even so, Anthems and Phantoms is pure Stinking Lizaveta front to back, and it doesn’t need to be a departure because the band themselves are the departure.
For someone taking them on for the first time — and six years after their last record, that’s entirely possible — Anthems and Phantoms might come across as head-spinning in a way that’s hard to keep up with, but that’s the idea. The righteousness of Stinking Lizaveta stems from the execution of their own approach on their own terms, and from the fact that they so clearly love what they do. Started off with guitar, “Nomen est Omen” is both raw and high-class, elaborate in style and barebones in arrangement, sprawling and unpretentious. And the same is true as “Blue Skunk” Hendrixes toward its finish, serving as a transition to the aforementioned closing pair of “The Heart” and “Light of Love, Darkness of Doubt,” and everywhere else. As comparatively gentle as the ending of the album is compared to “Electric Future” and “Let Live” — triumphant and memorable as they are in leading off the record, and very much intended to be as frenetic as they might feel — it is only through engaging with both that the full scope of Anthems and Phantoms can be internalized. Dense as some of the parts are, don’t be surprised if that takes a few listens.
And don’t be surprised if some never get there. I’m not gatekeeping or talking down to anyone or any of that on-the-internet garbage, but I have to imagine even Stinking Lizaveta would admit their music isn’t composed or played for universal accessibility. They are so much on their own wavelength that it’s inevitable, but much to their credit, the sounds across Anthems and Phantoms — fast, slow(ish), manic, soothing, up, down, left, right, A, B, select, start — are an invitation more than a line in the sand. Stinking Lizaveta are ready to bring their audience with them on this relatively brief outing, just as they do live. If they were gospel, this would be their ‘joyful noise,’ and what they’re worshiping is creativity itself. Open mind, open ears, gird loins, dive in. Whether you’re a longtime fan or you’ve never heard them before, Anthems and Phantoms manifests so much of what has made Stinking Lizaveta so special for so long. It is life-affirming in the truest sense of defining its own purpose.
Posted in Questionnaire on June 26th, 2023 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Carlos Ibarra from Maulén
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How do you define what you do and how did you come to do it?
Wow! Talk about dropping a bomb as the first question! My current project Maulén was defined by a period in my life where I had to stop making music to take care of my health. During that period I had time to think about WHY I make music and WHAT part of it that gives me joy and energy. I realized that for me music is a vessel, A vessel that has taken me across the world. Music is a sound in a space. And I realized that space was important to me. The actual place that the music is made. So for Maulén the place becomes an important element. It’s a huge part of what inspires me to write and record and I always want to take a piece of the place and freeze it in time to put in on wax.
Describe your first musical memory.
When I was like five years old I loved the band Europe and especially their drummer. I remember seeing the “Rock the night” video where there are big explosions behind him when he makes drum fills. I had a toy drum set at the time and I wanted shit to blow up when I played, so I started beating the drums really hard in hope shit would explode. When that did not happen I got really pissed and thought it was because I wasn’t hitting it hard enough. So in my rage I went and got a hammer and beat my toy drum into a million pieces and when there was no explosion I started to cry.
Describe your best musical memory to date.
There are so many great memories but maybe seeing Fantomas live at Roskilde Festival was one of them. It was a thorough display of Mike Patton’s twisted mind. Bending and twisting some of the best musicians on the planet to create his vision. I stood there with a huge grin on my face!
When was a time when a firmly held belief was tested?
How do you answer that when you don’t believe in anything? Maybe meeting Jesus during an acid trip?
I used to believe in the goodness of mankind but the last 10 years of where the world is going is challenging that really hard.
Where do you feel artistic progression leads?
Forward.
How do you define success?
When you allow yourself to have a vision of something and then you accomplish it. It can be a song, getting rich or just about anything else. It can also be when you allow yourself to feel accomplished.
What is something you have seen that you wish you hadn’t?
Sabaton and Limp Bizkit.
Describe something you haven’t created yet that you’d like to create.
One of my idols is Salvador Allende. A deposed democratically elected Chilean president said “No hay revolución sin canciones” with roughly translated means “there is no revolution that does not have songs”. I want to write songs that inspire change.
What do you believe is the most essential function of art?
It allows us to feel what we don’t dare to feel and speak about what hurts us the most.
Something non-musical that you’re looking forward to?
